Reminiscing in Tempo: “What are 4 or 5 of your all-time favorite Blue Note albums?”

. . Speak No Evil, a 1964 recording session by saxophonist Wayne Shorter (released in 1966), was among those listed by noted critics, authors and musicians as their all-time favorite Blue Note albums . __________ . “Reminiscing in Tempo” is part of a continuing effort to provide Jerry Jazz Musician readers with unique forms of … Continue reading “Reminiscing in Tempo: “What are 4 or 5 of your all-time favorite Blue Note albums?””

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June 14th, 2019

A short history of New York’s iconic jazz clubs

Where would jazz be without New York’s “joints’ of the 1920’s – 1950’s?  If Ellington hadn’t been hired to play the Cotton Club, what direction would his orchestra have taken?  Without the Royal Roost, would Parker play with Miles and Max Roach, and would Miles have had a venue to perform “Birth of the Cool” in?  And, where would Monk and Coltrane have played if not at the Five Spot?  

I came upon this terrific history today, “Jazz Joints Through the Ages.”  Written by noted jazz historian Ashley Kahn and originally published in Jazz Times in 2006, the feature provides short biographies of many of the most important clubs in jazz music’s past.  

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June 24th, 2014

Reminiscing in Tempo: Memories and Opinion/Volume Six: What are the five greatest albums (LP or CD) of all time?

“Reminiscing in Tempo” is part of a continuing effort to provide Jerry Jazz Musician readers with unique forms of “edu-tainment.” As often as possible, we pose one question via e mail to a small number of prominent and diverse people. The question is designed to provoke a lively response that will potentially include the memories and/or opinion of those solicited.

What are the five greatest albums (LP or CD) of all time?

Featuring Ahmad Jamal, Ashley Kahn, John Pizzarelli, John Szwed, Nancy Wilson and others…

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August 9th, 2006

Ashley Kahn, author of The House That Trane Built: The Story of Impulse Records

Following the path of its star musician John Coltrane, Impulse Records cut a creative swath through the 1960s and 1970s with the politically charged avant-garde jazz that defined the label’s musical and spiritual identity. Ashley Kahn’s The House That Trane Built tells the story of the label, balancing tales of individual passion, artistic vision, and commercial motivation.

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July 29th, 2006

Great Encounters #2: When Miles Davis hired John Coltrane

Excerpted from A Love Supreme: The Story of John Coltrane’s Signature Album, by Ashley Kahn

Miles Davis was desperate. He was in the midst of preparing for his first national tour arranged by a high-powered booking agent, and Columbia Records — the most prestigious and financially generous record company around — was looking over his shoulder, checking on him. “If you can get and keep a group together, I will record that group,” George Avakian, Columbia’s top jazz man, had promised. To Miles, an alumnus of Charlie Parker’s groundbreaking bebop quintet, “group” still meant a rhythm trio plus two horn players, but he still had only one: himself.

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February 22nd, 2004

“The A Love Supreme Interviews” — Ashley Kahn, author of A Love Supreme: The Story of John Coltrane’s Signature Album

A successful recording generally entertains and communicates passion on an earthly, mortal level. We typically respond to an effective performance by humming the melody, tapping our feet, and sharing it with friends. It might even “stomp the blues,” as the critic Albert Murray suggests.

Few recordings, however, actually challenge a listener to address one’s personal essence.

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September 16th, 2002

Kind of Blue: The Making of the Miles Davis Masterpiece author Ashley Kahn

In the spring of 1959, seven musicians got together in a converted church on 30th Street in Manhattan and made jazz history. Over forty years have passed since Miles Davis assembled his famed sextet to record Kind of Blue, and in that time the album has risen to the level of masterpiece.

In Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn gives readers the unprecedented opportunity to enter the 30th Street studio and witness the creation of this remarkable album

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April 29th, 2002

In this Issue

Art by Russell Dupont
Twenty-eight poets contribute 37 poems to the Jerry Jazz Musician Fall Poetry Collection, living proof that the energy and spirit of jazz is alive — and quite well.

Short Fiction

Photo/CC0 Public Doman
Short Fiction Contest-winning story #52 — “Random Blonde,” by Zandra Renwick

Interview

photo by Michael Lionstar
In a wide-ranging interview, Nate Chinen, former New York Times jazz critic and currently the director of editorial content for WBGO (Jazz) Radio, talks about his book Playing Changes: Jazz for the New Century,, described by Herbie Hancock as a “fascinating read” that shows Chinen’s “firm support of the music

Essay

photo of Esbjorn Svensson Trio/Pkobel/Creative Commons
“The Trio That Should Have Reshaped Jazz” — an essay by Scott Archer Jones

Photography

Veryl Oakland’s “Jazz in Available Light” — photos (and stories) of Mal Waldron, Jackie McLean and Joe Henderson

“What are 4 or 5 of your all-time favorite Blue Note albums?”

"What are 4 or 5 of your all-time favorite Blue Note albums?"
Dianne Reeves, Nate Chinen, Gary Giddins, Michael Cuscuna, Eliane Elias and Ashley Kahn are among the 12 writers, musicians, and music executives who list and write about their favorite Blue Note albums

Pressed for All Time

"Jazz Samba"/Verve Records
In this edition, excerpted from Michael Jarrett's Pressed For All Time, legendary producer Creed Taylor remembers the 1962 Stan Getz recording, Jazz Samba

Interview

Photographer Carol Friedman
In an entertaining conversation that also features a large volume of her famous photography, Carol Friedman discusses her lifelong work of distinction in the world of jazz photography

Art

"Dreaming of Bird at Billy Bergs" - by Charles Ingham
“Charles Ingham’s Jazz Narratives” — a continuing series

Poetry

Painting of John Coltrane by Tim Hussey
“broken embouchure” — a poem by M.T. Whitington

Interviews

photo by Francis Wolff, courtesy of Mosaic Records
Maxine Gordon, author of Sophisticated Giant: The Life and Legacy of Dexter Gordon, discusses her late husband’s complex, fascinating life.

Poetry

photo from Pixabay
“The Fibonacci Quartet Plays Improv” — a poem by Gerard Furey

Short Fiction

photo/Creative Commons CC0.
Con Chapman, author of Rabbit's Blues: The Life and Music of Johnny Hodges, contributes a humorous short story, "Father Kniest: Jazz Priest"

In the Previous Issue

photo of Sullivan Fortner by Carol Friedman
“The Jazz Photography Issue” features an interview with today’s most eminent jazz portrait photographer Carol Friedman, news from Michael Cuscuna about newly released Francis Wolff photos, as well as archived interviews with William Gottlieb, Herman Leonard, Lee Tanner, a piece on Milt Hinton, a new edition of photos from Veryl Oakland, and much more…

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